It's no secret that buying concert tickets can be a frustrating and costly process. And Live Nation, the parent company of Ticketmaster since 2010, has been the target for much of the backlash from concertgoers, artists and regulators.

On Monday, days into a trial, the Justice Department said it reached a tentative agreement to settle charges that Live Nation runs a monopoly squelching competition and driving up prices for live music. The DOJ hailed new options for promoters and venues that it said would end this illegal control. While continuing to maintain the allegations were without merit, Live Nation said the deal would give artists more flexibility for ticketing while also keeping costs affordable for fans.

What the settlement didn't do was separate Ticketmaster from Live Nation, an original goal of the DOJ's 2024 complaint.

Critics described the deal, which still needs court approval, as a win for the company over consumers. More than two dozen states vowed to keep fighting the case.

Meanwhile, industry experts say a lot more needs to be done beyond this legal battle to actually relieve concertgoers’ biggest headaches. Here's what we know.

The deal's details

Ticketmaster is widely considered to be the world’s largest ticket seller for live events. According to an annual report, it distributed 646 million tickets through its systems in 2025. And Live Nation owned, operated, had exclusive booking rights or an equity interest in 460 venues around the world, 78 of which were amphitheaters.

But this case targets major concert venues that sell tickets through Ticketmaster, generally locations with 8,000 seats or more. A “term sheet” spelling out the details said Live Nation agreed to let these venues essentially sign new agreements to sell a certain portion of tickets through entities other than Ticketmaster. Still, fully exclusive options with Ticketmaster would also be on the table for up to four years.

Specifically for amphitheaters that Live Nation already owns or operates out of, the company also pledged to cap service fees at 15%. Also for the amphitheaters, promoters may choose how to distribute up to 50% of the tickets at their own discretion.

In theory, expanding selling options could mean consumers see more choices. But the deal only requires it to be an option, not an immediate threshold, for venues to turn to competitors like SeatGeek or AXS.

On the tech side, while Ticketmaster also agreed to develop back-end technology for listing and delivering tickets for “any third-party primary marketplaces," but only for applicable venues that chose to do so.

Questioning the benefits for consumers

Live Nation would “continue to benefit from the synergy of selling both the shows and the tickets,” said Bill Werde, director of Syracuse University’s Bandier music business program. And even if others tap into Ticketmaster’s tech, he added, “I have to imagine they will always have a competitive advantage as the company that owns it.”

Werde is skeptical about consumers benefits. He says the agreement addresses just “one small part” of concertgoers' top frustrations: fees. Even there, the proposed 15% cap is limited to amphitheaters, not all venues that Live Nation owns or operates out of.

Others say it is still unclear how that compares to current charges overall. Service fees are shared between both venues and ticketing sites.

Shubha Ghosh, director of intellectual property law at Syracuse, said at best he expects to see a small dent in ticket prices. He doubts high-profile acts will suddenly start charging less or that aggressive resellers will slow down anytime soon — which he and Wede noted account for the bulk of the sky-high prices U.S. consumers face today, but is beyond the scope of this case.

Meanwhile, Live Nation maintained it made significant concessions to the government. Dan Wall, executive vice president of Live Nation's corporate and regulatory affairs, called the agreement a “very good outcome for artists and venues” and said the terms were stronger than what the government has been able to obtain in past competition cases.

“People who are trying to dismiss this as inadequate are not being realistic,” Wall said.

States' damage claims

Monday's tentative deal would create a $280 million settlement fund for the states' damage claims.

Critics called the amount a drop in the bucket when compared to Live Nation's total revenue of $25.2 billion last year.

But the $280 million, all or a portion, would only be paid out if states sign on to the deal. Attorneys general of more than two dozen states — including New York and California — pledged to keep fighting. That could potentially lead to more money, or what they argue are better benefits for consumers and artists than the Justice Department deal provides.

“There is an opportunity for the states, if they want to keep litigating, to continue to try to break (Live Nation) up,” said Kenneth Dintzer, a partner at law firm Crowell & Moring and former senior trial counsel in the DOJ’s Antitrust Division. “So this creates a floor, not a ceiling necessarily."

Next legal steps

Again, the tentative settlement still needs court approval. Dintzer, who worked at the DOJ for over 30 years, said the terms outlined now seem like the "bare bones" — noting key details need to be filled in before a final order.

And all eyes are on future litigation. The states that rejected the DOJ deal have vowed to press on, although they have asked the judge to scrap the current trial and start with a new jury in a month or two.

“We will keep fighting this case without the federal government so that we can secure justice for all those harmed by Live Nation’s monopoly,” New York Attorney General Letitia James said following Monday's announcement.

A DOJ spokesperson said the states were free to pursue their claims — but that the federal government “sought meaningful relief for consumers now” rather than draw-out litigation. The official added that the settlement would “open up” the ticketing marketplace and “enable competition which will lower prices.” Monday’s pact arrives amid wider shifts at the DOJ under the Trump administration, which ousted the agency’s antitrust division head last month.

More needs to be done, experts say

Meanwhile, industry experts stress more needs to be done to help concertgoers that isn't covered in this case. Werde pointed to the largely unregulated reselling market in the U.S. — where a “typical fan can’t even buy a ticket" amid overwhelming demand during mass ticket drops and attacks from bots, which quickly scoop up tickets to resell them at steeper prices.

Werde called for stronger laws to combat aggressive scalping, including a ban on the resale of tickets for more than they were originally listed for, along with more sweeping caps on fees. Beyond the federal level, several states have moved to try to address these concerns.

“We’ve seen this work in other countries. It’s not that complicated,” Werde said. “The ideal scenario would be one where every fan and everyone in business knows that artists set the prices — and that once artists set those prices, that’s basically what fans are going to pay.”

With Season 2 about to arrive, Rich joined us to reflect on what he’s learned, what’s new, and why this chapter takes the show to a whole new level.

EDGE: What lessons did you learn from season 1 that you are bringing into season 2?

RB: Season One was really an experiment, and it wasn’t until I got into the editing that I understood what the show wanted to be. I realized the heart of it was the friendship among the three main characters—keeping them together, talking, reacting, and navigating life as a unit. I also leaned into the humiliation comedy, which ramps up as the season goes on. These guys suddenly realize they’re running out of time, they can’t retire, and they end up taking odd jobs that lead to increasingly embarrassing situations. Watching them try—and fail—to reinvent themselves is part of the fun. Between seasons, I learned to trust the show and rely on the crew. Being on set, seeing something I wrote alone in a room become a full world, is incredible. And so many people worked on this project purely out of passion—actors deferred salaries, the cameraman took a fraction of his usual rate. It reminded me that if you trust the material, people show up for it.

EDGE: The show tackles midlife challenges in the LGBTQ community with honesty and humor. Why do you think that perspective has been underrepresented in the media?

RB: Honestly, the biggest issue is simply that it’s not considered “sexy.” And that’s not just in gay culture—straight culture has the same problem. You don’t see a lot of representation of straight characters over 50 either. There are exceptions, of course—Larry David on Curb Your Enthusiasm, which I adore and definitely draw inspiration from—but across most media, age is viewed as a tougher sell. At least, that’s the assumption. But then you look at The Golden Girls, and it proves the opposite. There’s always something that breaks the rule. Within the LGBTQ community, it feels especially important not to buy into that idea. We already struggle with representation across the board, regardless of demographic. So we have a responsibility to embrace the full spectrum of who we are, including age. I mean, there are parts of the community I don’t personally relate to—Pose, for example, wasn’t my lived experience in any way—but I watched every episode. I loved it. I thought it was brilliant. You don’t have to see yourself reflected 1:1 to appreciate a story or show empathy for a different walk of life. And that ties into something that happened recently: someone saw our trailer and commented, “Stop normalizing older–younger relationships. The imbalance is blah blah blah…”—just going off. And my reaction was: you actually need to watch the show. Yes, we portray an older–younger dynamic, but we flip it. The power sits squarely with the younger guy. The assumption this person made couldn’t have been more off. It’s that instinctive, quick-to-judge intolerance—people reacting before they’re informed—that frustrates me. I hate the word “triggered,” but honestly, that kind of kneejerk outrage does trigger me.

EDGE: How do your own lived experiences as a queer creator shape your writing for Season 2?

RB: I have to be a little careful about how I phrase this, but I’ve had jobs working in animation where I experienced something very similar to what Ray goes through. I found myself in rooms where I was significantly older than everyone else. It actually happened twice: one situation was great—I connected really well with the team, men and women alike—and the other… not so great. Those two contrasting experiences really informed Ray’s storyline in Season Two, especially his time working at Unicorn Princesses in Outer Space.

The National Museum of African American History and Culture says a timber piece of the slave ship, the São José-Paquete de Africa, on display in its “Slavery and Freedom” exhibit, will soon be prepared for a trip back to its home museum in South Africa.

The 33-pound (15-kilogram) timber piece has been prominently displayed — seemingly suspended over a dark void, a ballast at its side — as part of a loan agreement to the museum since it opened in 2016. The agreement, examined by The Associated Press, was initially five years and then was extended another five in 2021, ending July 1.

The ship remnant will be among several items sent back to the Iziko Museums of South Africa later this year. Because of its delicate nature, a special crate has to be built for its transport.

Other items from the ship, including the ballasts that served as counterweights for the human cargo, are remaining on display and will be returned to South Africa in two years. A manifest of the cargo on the ship will replace the timber piece.

The last day for museum visitors to see the timber piece on display is March 22.

A relic of the trans-Atlantic slave trade was recovered in 2015

The São José, a Portuguese vessel bound for Brazil with more than 400 captives from Mozambique, struck a rock and sank in December 1794 off the coast of Cape Town, South Africa. Half of the people aboard perished. Survivors were resold into slavery in the Western Cape, according to the Smithsonian.

Recovered in 2015, the ship was identified and studied through the Slave Wrecks Project, an international network of institutions that confirmed it was associated with the trans-Atlantic slave trade. The ship is among the first known wreckage of such a ship that was recovered, in which enslaved Africans died.

The São José piece is in the lowest public level of the museum and is part of the larger “Slavery and Freedom” exhibit, which focuses on the slave trade, including the ships and conditions of transport, as well as artifacts, such as shackles.

The exhibit addresses the Middle Passage, an especially fraught part of the Atlantic Ocean crossing where many of the captives died. While there is no exact count, the number of people who perished during the journey is in the millions, according to Paul Gardullo, the assistant director of history at the National Museum of African American History and Culture.

Slavery exhibit changes unrelated to Trump museum review

The alteration of the slavery exhibit comes at a time when any changes related to history and the American story at federal parks, museums or other public spaces are being scrutinized. President Donald Trump's administration has focused on putting the U.S. in a good light as the country prepares to celebrate the 250th anniversary of the signing of the Declaration of Independence.

The displays, exhibits and programming of several Smithsonian museums are under review as part of an executive order signed in March 2025 by the Republican president, titled “Restoring Truth and Sanity to American History.” The National Museum of African American History and Culture is one of the institutions named in the order.

Michelle Commander, the museum's deputy director, told the AP the exhibit change is entirely related to the loan agreement but understood the timing might raise questions.

“That’s why we’re being transparent in this moment, because we are aware that there are those kinds of questions,” Commander said. “But, as we’ve said, this is really about the conservation needs of that item.”

As part of the loan, Gardullo said, the South African government has a robust cultural patrimony law that dictates how its artifacts and historical materials are treated and how long they can be loaned out.

“The wooden materials are more fragile, and they need a little more close care,” he said.

‘Extraordinarily powerful’

Recent visitors to the National Museum of African American History and Culture spoke of the power of the display with the slave ship timber, unaware that it would be altered shortly.

Lines wait to enter the darkened gallery, entitled the Middle Passage, where there is a solemnity as people study the dark space where the timber sits next to a ship's ballast. The tangible nature of the exhibit takes it out of textbooks and into reality, said Krystina Hernandez, who was there chaperoning her 7-year-old son’s schoolmates.

Anehtra Reynolds, from northern Virginia, was emotional as she exited the area. She said the presentation, including the artifacts and the darkness of the gallery, gave her a “piece of what they felt in terms of their misery.”

“I think there was a sign in there that mentioned there were some slaves who starved themselves to death in hopes that they would, when they died, they would be returned to their land,” Reynolds said.

Jim Carnes, who was in Washington visiting family from Birmingham, Alabama, said he was familiar with much of the information because he has worked in civil rights education in Birmingham and Montgomery, two places central to the nation's civil rights history.

“The artifacts are extraordinarily powerful,” he said, adding that he's left feeling sadness and anger, not just at the conditions of the enslaved people but at the current push by the federal government to “deny this ever happened.”

Jorge Carvajal, who is originally from Colombia but lives with his wife in south Florida, said seeing the exhibit silenced the stereotypes, especially that Black people are unreasonably angry.

“Empathy is what I’m trying to say. This will help people empathize a lot more. I mean, at least you would hope,” he said.

Commander said the staff at the museum will work to make sure that the exhibit continues to have the same impact with the remaining artifacts and displays.

“The story does not leave the museum because this timber is going to be returned to its owners,” she said.

While Ian Tuason, the mind behind the buzzy new auditory horror “Undertone,” reveres and references Hitchcock as much as the next horror filmmaker, he has to disagree with him on this one. For Tuason, the real screams are the point.

“My favorite thing about this whole process is just watching it with audiences. I think that’s probably why I wanted to make a horror film … just to kind of witness the reactions,” Tuason said in a recent interview with The Associated Press. “The same way as when you tell a ghost story at a campfire, it doesn’t feel that great unless you see your friend scared.”

His debut film “Undertone,” which opens in theaters on Friday (yes, the 13th), is already doing just that. After playing at the Sundance Film Festival, it had some calling it the “scariest movie you’ll ever hear.”

“Undertone” is a minimalist horror, set in one location, with essentially one character. Evy (Nina Kiri) is a paranormal podcaster who is taking care of her dying, comatose mother upstairs. She’s the skeptic of the podcast, which she does with a remote co-host (Adam DiMarco) in the middle of the night. Nothing can scare her, but this new investigation, in which they try to decode a series of unnerving audio files sent anonymously, has rattled her.

Why sound is so scary

Tuason always dreamed of being a filmmaker, but he began his career in virtual reality and made a name for himself as an early proponent of immersive 3D sound for his cinematic horror shorts, which have been viewed millions of times. Soundscapes became his calling card. So, when he sat down to write “Undertone,” he included every audio cue, resulting in a 250-page script.

“Sound in movies, it makes space for the audience to imagine what they’re not seeing,” Tuason said. “Whatever you imagine that’s scary is going to be way scarier than what I can show you. There’s going to be millions of different versions of this movie in millions of minds and that’s all because of the power of suggestion driven by sound and a lot of negative space.”

In the process of shooting, he even found himself taking out a lot of the visuals he thought he’d need, stripping it down to its barest form: A woman listening to audio clips through her noise canceling headphones and freaking herself, and the audience, out. They figured it out with the help of a local Toronto postproduction studio, REDLAB. When A24 came on board to distribute the film, they were able to do the mix again in Dolby.

“It’s definitely meant to be seen in the theater in Dolby, because that is the exact vision that Ian had,” said producer Cody Calahan. “But at home, on headphones, alone, it is a different experience … You can kind of watch it twice.”

The personal story behind the film

Behind the film is a deeply personal story of demons, loss and grief. In 2020, during the pandemic, both his parents received terminal cancer diagnoses, and he moved back home to their Toronto suburbs to care for them. His mom died a few months later, followed by his father two and a half years later. During that time, Tuason was drinking a lot too, but also writing, melding together an audio play he’d created with the story of a lone caregiver.

He wrote it figuring that he’d just have to make it himself with whatever resources he had. It could be set in his childhood home (nothing to rent) and feature one actor (“I could afford that,” he said). And he didn't hold back: Even he was surprised by his own capacity for honesty about some of his darkest moments.

“I didn’t really have to write in a way where I’m trying to pitch it,” Tuason said. “I think that’s what gave it its honesty. Because I was going to make it either way.”

His main character, Evy, is him, he said. But he wrote Evy as a woman and not a man because, Tuason said, he needed the character to face a choice that would change their life; He couldn’t think of anything bigger than the question of whether to have a child.

Throughout it all Tuason worked on himself as a person too, leaving the skeptic behind and turning into a believer, he said. He knows the Evys of the world will doubt it, but he sees meaningful connections everywhere now; Even in the film’s release date that he had nothing to do with.

“It’s a miracle that I made this thing and then A24 bought it, and then Sundance and then the release on Friday the 13th,” Tuason said. “My dad passed on Friday, the 13th. And March was the last month I had with my mom.”

What’s next: Paranormal Activity and Kung-Fu

Though moviegoers might just be discovering Tuason, Hollywood has already taken notice. In December, he was tapped to direct a new “Paranormal Activity” film. He knows that horror is what people want from him, and as a self-proclaimed people pleaser he wants to do that too. But he does have dreams of delving into other genres as well, like science fiction and, eventually, Kung-Fu.

“It’s going to be modern day Kung-Fu,” he said.

But now, he’s focused on getting “Undertone” out to the world. And he’s grateful that he’s starting to see it as a film and a character, separate from himself.

“It’s starting to feel less and less like me,” he said. “There wasn’t any separation for the longest time, but now I watch it in the theater and I’m a little bit more distanced … now I can look at it and kind of just focus on the technique, the art and have it live as a thing separate from me.”

First, she’s a penniless former prison inmate who has returned to her small town of Laramie, Wisconsin, where she's hooking up with her former boyfriend’s best friend. Second, that boyfriend is dead and she's been blamed, hence the prison sentence. Plus, she’s hoping to connect with her estranged daughter, born of tragedy.

There's a lot going on with Kenna Rowan, who can't afford a phone or a car and so walks everywhere around the town, lives in a run-down motel and can't initially get a job because she's a felon. She hates listening to the radio because all the songs are sad. Pot calling the kettle, right?

“Reminders of Him” is very faithful to Colleen Hoover’s 2022 novel of the same name, right down to slices of the same dialogue and even the Mountain Dew T-shirt, jean shorts and boots our heroine is first introduced in. She finally gets a job as a grocery bagger and starts building a life, biding her time until she figures out how to reconnect with her daughter.

Maika Monroe — a one-time scream queen — stretches out her dramatic muscles to play Kenna and nails the assignment, a woman with a hard shell who is looking for a little grace, a tricky role that's both flirty and maternal.

After seven years in prison, Kenna walks into a fraught situation. Her 5-year-old daughter — yeah, the math is a bit hazy here — is being raised by her dead boyfriend's parents, with an assist from his best friend, Ledger, played with real soul by Tyriq Withers. Kenna's mere presence threatens to blow up this cozy arrangement.

What's remarkable about “Reminders of Him” is that there are no villains. The grandparents — played by Lauren Graham and Bradley Whitford, both perfect — are naturally aghast at the notion that the woman who was driving the car when their son died might swoop in and take their grandchild. But any parent can sympathize with Kenna, who gave birth in handcuffs and never got to even hold her baby.

Ledger is caught in the middle, attracted to this sad Kenna but also a fierce defender and surrogate father of her daughter, Diem. Falling in love with the lady accused of killing your best friend may not be the wisest thing to do, but there you go.

The movie veers dangerously close to overwrought melodrama — like a line about Kenna “heading back to the place it all went wrong hoping to make something right” — and it flirts with twee: Not many grocery store baggers spend their off-time dancing at dusk with sparklers.

But that's what happens when you add romance to a redemption story and the actors pull it off, with perhaps the best performance by little Zoe Kosovic, who plays Diem with freshness, adorableness and directness. Also kudos to actor Monika Myers, who plays a motel neighbor with the timing and dry wit of Bob Newhart.

There are men here, of course, but this is a very female-driven work, from the executive producers and producers to the screenplay writers — Hoover and Lauren Levine — to the director, Vanessa Caswill, who shows a very assured hand.

Everywhere on screen, women stand up for women. A female assistant manager at the grocery store reaches out to offer Kenna employment when her male boss won't, a female motel owner offers a discount and it is the grandmother who provides a breakthrough to this familial standoff.

It is a thoughtful production where details matter. At one point we learn the dead boyfriend’s favorite color is yellow and later we hear not one but two versions of Coldplay’s “Yellow.” There may be a few too many shots of an orange Ford F-150 and heavy use of a strummy acoustic guitar whenever a tender moment is coming, but “Reminders of Him” is a well-crafted, well-acted sad-happy Hoover adaptation.

“Reminders of Him,” a Universal Pictures release that opens in theaters Friday, is rated PG-13 by the Motion Picture Association for sexual content, strong language, drug content, some violent content and brief partial nudity. Running time: 114 minutes. Three stars out of four.

In a video interview posted online on March 11, 2026, Symoné directly addressed the "discourse" surrounding Maday, stating, "It's disrespectful to my wife, but then I also know the Internet." She elaborated that the negativity stems from multiple factors, including the fact that Maday is a white woman married to a Black celebrity and that their union is a same-sex marriage. Symoné emphasized, "It's disrespectful, it's unnecessary, and it's harmful," underscoring the personal toll of such online harassment.

The backlash appears to have intensified recently, with social media users commenting on Maday's looks, age difference, and the interracial, same-sex nature of their relationship. Symoné, who came out as a lesbian in 2014, has been open about her identity and marriage, often using her platform to advocate for LGBTQ+ visibility. Her response comes amid broader discussions in LGBTQ+ communities about the intersection of race, sexuality, and online toxicity, where same-sex couples, particularly interracial ones, face disproportionate scrutiny.

This incident echoes experiences shared by other LGBTQ+ celebrities, such as when Symoné previously defended her privacy against public speculation about her personal life. Community responses on platforms like Lipstick Alley, a forum popular in Black online spaces, have mixed reactions, with some users supporting Symoné's stance while others debate the dynamics of her marriage. Advocates for transgender people and other LGBTQ+ identities note that such discourse often amplifies harm to same-sex marriages, contributing to mental health challenges for those targeted.

Symoné's comments were made during a candid conversation where she acknowledged the internet's role in amplifying negativity, saying she is aware of its nature but still finds the attacks unwarranted. The event, reported on March 11, 2026, has sparked conversations about respect for LGBTQ+ relationships, with Symoné's words serving as a call for boundaries in public commentary. As a prominent figure in entertainment, her voice carries weight in affirming the validity of diverse same-sex partnerships.

While major outlets like GLAAD or Human Rights Campaign have not yet issued formal statements on this specific incident as of March 12, 2026, the response aligns with their ongoing work against online harassment targeting LGBTQ+ individuals. Symoné and Maday continue to share positive updates about their life together on Instagram , focusing on joy amid the noise. This episode underscores the persistent need for affirming language and support for LGBTQ+ couples facing public judgment.

"I relate to this so hardcore," Clarkson told Rausch, noting she won "American Idol" Season 1 in 2002 when he was likely not yet born. She explained that the show promoted a $1 million prize, but clarified it was "a million dollars worth of investment in you," referring to the recording contract she ultimately signed with RCA Records, in partnership with "Idol"'s 19 Recordings. Following her win, Clarkson achieved commercial success with multiple top-ten singles, platinum albums, Grammy Awards, and Emmy Awards.

However, the car portion of the prize never materialized for Clarkson, who said she desperately needed it at the time because her own vehicle was damaged and she could not afford the insurance deductible. "And then they said you get a car... And then, no! I did not get a car!" she recounted. Clarkson highlighted the disparity by recalling how "American Idol" Season 2 runner-up Clay Aiken and his mother each received cars, prompting her joking frustration: "I was like, ‘What the f***?’... I’m gonna actually kick your ass right now."

Season 4 winner Carrie Underwood, now a judge on the show, confirmed she received her prize car—a Ford Mustang convertible—and still owns it. In a 2023 interview on "Today's Country Radio with Kelleigh Bannen", Underwood described driving the car after moving to Tennessee as a pivotal moment in her career. Clarkson returned to her daytime talk show on March 9, 2026, after a brief hiatus.

This disclosure arrives as Clarkson announced the end of "The Kelly Clarkson Show" after its seventh season this fall, citing a need to prioritize her family. She shares daughter River and son Remy with her late ex-husband Brandon Blackstock, who passed away at age 48 in August 2025. "Stepping away from the daily schedule will allow me to prioritize my kids, which feels necessary and right for this next chapter of our lives," Clarkson wrote in a February 2, 2026, Instagram statement.

The story has sparked online discussions about prize fulfillment in reality competitions, though no official response from "American Idol" producers has been issued as of March 12, 2026. While the event lacks direct LGBTQ+ community responses in initial coverage, Clarkson has long been an affirming ally, supporting transgender people and other LGBTQ+ identities through public statements and performances. Fans in LGBTQ+ spaces on social media have praised her candor, drawing parallels to broader themes of corporate accountability relevant to queer artists in entertainment. No specific impacts on LGBTQ+ communities have been reported from this revelation, as it centers on Clarkson’s personal experience from the show's early years.

Colin Dorgan was on the ice with his teammates when his mother and brother, Rhonda Dorgan and Aidan Dorgan, were killed in a targeted attack during a Feb. 16 hockey game in Pawtucket, Rhode Island. A third victim, Colin Dorgan's grandfather Gerald Dorgan, later died from his injuries, and two others were severely injured.

Police have identified the shooter as Robert Dorgan, who died from an apparent self-inflicted gunshot wound. Robert Dorgan also went by the names Roberta Esposito and Roberta Dorgano, authorities said.

After the shooting, all Rhode Island high school sports were postponed for a week. However, Blackstone Valley returned to the ice for the first time since the fatal attack earlier this month, with players donning hearts stitched on the front of their jerseys with the initials of all three who died.

After securing a playoff victory on March 7, Blackstone Valley defeated Portsmouth 3-2 on Wednesday with Colin Dorgan scoring on a breakaway in double overtime.

“It was the greatest moment of my life,” Dorgan told WPRI-TV.

Officials have said the shooter was specifically targeting family members.

Law enforcement have credited several people who intervened and quickly stopped the attack. At least three bystanders were able to contain the shooter in the middle of the stands as the crowd fled and ran around them.

Rhonda Dorgan’s mom, Linda Dorgan, and a family friend, Thomas Geruso, were also wounded.

The season opens on May 24 with six-time Tony Award winner Audra McDonald, celebrated for her roles in Gypsy, Porgy and Bess, Carousel, and Lady Day at Emerson's Bar and Grill, as well as her work in HBO's The Gilded Age. She will perform with music director and host Seth Rudetsky, known for Sirius/XM's Seth's Big Fat Broadway and On Broadway.

Following on July 5 over the 250th Independence Day weekend, Megan Hilty takes the stage. Hilty is recognized for her breakout role in NBC's Smash, her Tony-nominated performance as Madeline Ashton in Death Becomes Her, and her Drama Desk-winning turn in 9 to 5: The Musical, accompanied by pianist Matt Cusson.

Emmy and Grammy nominee Cheyenne Jackson, an openly gay performer known for Broadway's Once Upon a Mattress and Into the Woods, as well as films like United 93 and Behind the Candelabra, brings his Mid Life Torso Tour to Town Hall on August 2. The intimate cabaret-style concert includes hits from Lady Gaga, Elvis Presley, and Sam Cooke, alongside original music and personal stories, showcasing his comedic and vocal talents.

On August 16, RuPaul's Drag Race Season 6 winner Bianca Del Rio, a drag queen often called the "Joan Rivers of the Drag World" by The New York Times, delivers a one-night comedy performance. Del Rio's appearance underscores the series' appeal to drag enthusiasts and the broader LGBTQ+ community.

Tony-nominated Melissa Errico follows on August 23 with her debut Provincetown concert, The Streisbar Effect, celebrating Barbra Streisand's influence, accompanied by pianist Billy Stritch. The season closes August 30 with Grammy nominee Marilyn Maye, nearing 98, in her 15th consecutive summer appearance. Dubbed "the greatest white female singer in the world" by Ella Fitzgerald and "The Taylor Swift of Cabaret Singers," Maye performs with Tedd Firth.

Cortale, who launched live entertainment at The Art House in Provincetown in 2011, recently produced the London premiere of Beautiful Little Fool and the Broadway run of Floyd Collins. This marks the 15th season of his star-driven programming at Town Hall, Provincetown's largest entertainment venue. Tickets and information are available at PtownTownHall.com, with a 2026 Season Pass offered at a 10% discount if purchased by May 24, guaranteeing VIP front-section seats selected on a first-come, first-served basis.

Provincetown has long been a haven for LGBTQ+ artists and audiences, fostering events that celebrate queer talent like Jackson and Del Rio. Past lineups have included other prominent LGBTQ+ figures such as Neil Patrick Harris, reinforcing the town's role as a cultural hub. The series aligns with Provincetown's legacy of inclusive entertainment, drawing diverse crowds to Cape Cod for intimate performances that blend Broadway excellence with personal storytelling. While primary coverage centers on BroadwayWorld and Playbill, both dated March 11, 2026, additional context from TheaterMania and Times Square Chronicles confirms the venue's history with queer-affirming stars, though deeper community responses remain forthcoming as the season approaches.